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PARA WALANG HASSLE, KUMUHA NG BUILDING PERMIT

DECEMBER 2018, nagpa-extend ng bahay si Ma'am Cristy sa isang subdivivion dito sa Bacoor, Cavite.

  Sinimulan ang construction sa tulong ni Manong Foreman.  Wala silang permit.  

Hindi naisip ni Ma'am na yun ay magiging problema.  Dahil sa isip nya extension lang naman.  Magpapa-second floor lang naman siya.

Lumipas ang isang linggo...

Sinita sila ng mabait nilang kapitbahay. 

Maingay at makalat daw sila magtrabaho.  Hindi makatulog sa hapon ang kanyang aso.  At may mga ga-kutsarang buhangin na napupunta sa harap ng bahay nya.

At sinita na rin sila ni Gingging.  Si Gingging.  Ang secretary ng homeowners association ng subdivision nila.  

Asan ang permit nyo Ma'am Cristy?  Tanong ni secretary.  

Na-stressed si Ma'am. 

Mag-aaply na sya. Ok. Wait lang.

Hindi na sya naghintay na masita pa ng Munisipyo.  Sigurado sya mas nakaka-stress yun. 

Bahay ni Ma'am

AT TINULUNGAN NAMIN SI MA'AM CRISTY na magkaroon ng permit.  

Extension Permit.  

Pano kami naka kuha ng permit?

Madali lang naman yan.

Just leave it all to us!

Have a nice day!

A PROPOSED RESIDENCE IN LAS PIÑAS CITY

CASA VILLAVICENCIO

Full Photo Credit to Pinoy Adventurista

WHEN THE VILLAVICENCIO ANCESTRAL HOUSE, built in the 1920s on the street behind the Casa Tribunal (now the Municipal Building) became too cramped, being hemmed by other bahay na bato, the parents of Don Eulalio Villavicencio decided to build a larger house that had no adjoining neighbors.  The new house stood on the second of five contiguous lots and was three lots away from its nearest neighbor.  Bordered by three streets, its main entrance was on G. Marella Street.  Del Castillo Street that ended at the granite stairway leading to Caysasay Church, was on the west, while a narrow street bordered the back of the property.

The house went to Don Eulalio upon the death of his parents.  Although he already owned the adjoining house one lot away which was connected to his parent’s abode by a covered bridge, Don Eulalio moved over to the older but larger dwelling to accommodate his large family.

Don Eulalio and his wife Gliceria were one of the richest couples in Taal.  They owned large tracts of agricultural land and steamers that plied the Manila-Batangas-Tayabas coast.  Both of them were staunch nationalists.  In January 1892, upon the visit of Juan and Antonio Luna to raise funds for the   Propaganda Movement, they donated a sum of Php18,000 – equivalent to Php6.5 million today.  In gratitude Juan Luna gifted the couple with their portraits, probably the best he ever painted.

In 1986, Eulalio was arrested for alleged complicity in the Katipunan.  Imprisoned for two years in Fort Santiago, he died shortly after his release due to the privations suffered during his        incarceration.

Because of the death of his husband at the hands of the Spaniards, Doña Gliceria became an even more rabid nationalist to the extent of holding clandestine meetings in the house with revolutionary leaders of Batangas.  She also organized the Batalyon Maluya to fight the Spaniards.  With her considerable resources, Doña Gliceria provided food and arms to the revolutionaries, sometimes even more personally driving the carabao-drawn cariton with rifles hidden under cornstalks supposedly for fodder.

In 1919, Gov.-Gen. Francis B. Harrison slept   in the house as a guest of Senator Vicente Ilustre, son-in-law of Doña Gliceria, to inaugurate the electric plant in Taal.  It was a momentous occasion, as Taal was the first town to have electricity in Batangas province. Incidentally, Vicente Ilustre was Rizal’s model for Isagani in El Filibusterismo.

A typical three-bayed bahay na bato painted in the original mint green and yellow ochre, its ground floor walls of adobe blocks support an upper storey of carved acanthus consoles of molave seemingly support the pasamano or window sills.  This architectural detail, commonly found in Pangasinan, also appears in contemporary houses of Taal and Balayan, probably as a result of coastal trade.  Ventanilla or “little windows” beneath the window sill are faced with the elaborate lace-like wrought-iron grillwork typical of the 1850s.  The ogee arches carved on the doors were inspired those on the facade of Bauan Church, where it first appeared in Batangas.  The neo-Gothic details of that church, built in the early 1800s, antedated the 1870s Sto. Domingo Church in Intramuros.

The two double doors opening to the zaguan are unusual for private houses.  The door on the left bay led to the storage area of the carved and gilded andas or palanquin of the Nuestra Señora del Rosario.  On her feast day in October, the statue was assembled on the andas which was then decorated with realistic-looking feligrana or filigree flowers made of beaten coin silver and illuminated by a score of candles in handblown and etched virina or hurricane lamp shades.  The zaguan door was then opened so that the faithful could venerate the ivory image in its glittering golden splendor.  The doors of the central bay led to a short flight of stairs to the meseta or landing with its door opening to the entresuelo or mezzanine chamber that had sliding capiz windows opening to the zaguan and a window on the street side with a wrought-iron rejas na buntis, so-called because the lower part of the scroll that formed grille protruded out like the belly of a pregnant woman.  From the meseta, a flight of balayong stairs led to the wide caida with its panoramic view of the Balayan Bay.

The hardwood floors of the upper floor, the elaborately carved and gilded foliated transoms over the double  doors carved with ogee panels in the formal rooms and the walls and ceilings stretched with handpainted canvas are typical of 1850s Taal houses.

In 1919, the house was renovated for the overnight visit of Gov.-Gen. Francis B. Harrison.  In anticipation of the visit, black-and-white Machuca tiles were laid in the zaguan.  The original painted canvas ceilings of the formal rooms upstairs, which had probably deteriorated by then, were removed and replaced with stamped tin imported from the U.S.  The walls of the caida and the sala were re-stretched with new canvas and painted with the then currently fashionable Art Nouveau motifs by Emilio Alvero.  In the master’s bedroom, an adjoining porch overlooking the central garden with its ornamental pond was built and floored with Machuca tiles.  The lot along Del Castillo Street was fenced with wrought-iron grilles and landscaped.  A fountain featuring a giant clam shell spouting water graced the center of the garden.  The exceptionally large shell was a gift of the Sultan of Sulu, when Vicente Ilustre made a visit to Jolo as one of the five Filipino  members of the Philippine Commission of 1916 – 1919 representing Mindanao and Sulu.

The house, like most dwellings in Taal, survived the Japanese Occupation relatively unscathed, except for the loss of the floorboards of the large comedor or the dining room that ran the whole width of the house.  The Villavicencio comedor, the largest in Taal in the 1850a, shows the scale of entertaining the family indulge in.  Since the family all live in Manila after World War II, the house was not lived for almost half a century.

Upon partition of the communal property in 1990, the house went to the heirs of Don Sixto Villavicencio, Don Eulalio’s son.  Edgardo Villavicencio, Don Sixto’s only son, inherited the house and began restoring it.  When the monument of Doña Gliceria Marella de Villavicencio was erected by the NHI, the garden was raised to street level and the fountain was buried under the landfill.  The covered bridge, which had become dangerously decrepit due to non-use, was demolished.

The house is now owned by Edgardo’s son, Ernesto, who completely restored the house with the help of his wife, Maris Rosario Benedicto, who has a Master of Architecture degree from Georgetown University.  MARTIN I. TINIO JR.

Architecture Online by Ding Lambinicio

VILLAVICENCIO - MARELLA HOUSE

BUILT IN 1870 BY DON EULALIO VILLAVICENCIO y Marella, the house was presented to Dona Gliceria Marella y Legaspi on the occasion of their marriage in 1871.  Hence, it came to be called “The Wedding Gift house.”

The couple lived in the house until the death of Don Eulalio’s parents who left him the adjoining house. Since it was bigger, the couple moved over to the older house to accommodate their growing family.

The Wedding Gift House then served as a guest house.  The Luna brothers stayed there in January 1892 while soliciting contributions throughout Batangas for the Propaganda Movement.  The Villavicencio couple donated Php18,000 to the cause, a sum equivalent to Php6.5 million today.  In gratitude, Juan Luna gifted the couple with their portraits which were subsequently framed in beautifully carved and gilded frames by Isabelo Tampinco.

Don Jose Villavicencio, Don Eulalio’s son, lived in the house with his wife Micaela Atienza until his death in the 1980s.  Since they were childless, the house was occupied after his death by one of his wards who converted it into apartments, with an entire family occupying each room.  For a while, the house even became a toy factory.

In the communal partition the house went to the heirs of Dona Vicenta Villavicencio de Villavicencio, Gliceria’s eldest daughter.  Monserrat Villavicencio Joven, Vicenta’s eldest child, inherited the house.  Her daughter Jocelyn Villavicencio Joven and her husband, Advinculo Cuay Quiblat, are the present caretakers of the house.

Since the Wedding Gift House was separated from the main house by a garden, Don Eulalio built a GI-roofed wooden bridge to connect the azateas of rear terrace of both houses to facilitate interaction between the two Villavicencio houses.  His family could visit thus his parents without having to go out into the street.  Unique in the country because of its corrugated roof, the bridge stood there until the 1990’s, when its dangerously derelict condition called for its demolition.

A real three-bayed bahay na bato painted in the original indigo blue and yellow ochre, the walls of the entire house, including that of the second floor except for the front, are built of adobe blocks.  A wooden volada or “flying balcony” on the second floor fronting the street is walled with carved molave panels and   wall-to wall sliding capiz windows topped by multi-lobed exterior transoms, also of capiz.  Above the upper window sill are decorative slats, where Japanese lanterns were hung during processions.  Ventanillas or “little windows” beneath the pasamano or window sill are faced with iron grillwork wrought in the palmette motif with cast-led ornamentation typical of the 1870s.  The neo-Gothic ogee arches carved on the main double doors replicated those in the older Villavicencio House.

The house is unusual because the two main double doors to the zaguan are built on either side of a central bay sporting a large decorative wrought-iron grille with a palmette motif decorated   with cast-lead ornaments.  The left door led to that part of the zaguan where the carruaje or carriage was kept when not in use.  A door on the left opened   to the central garden with a stone stairway at the end leading up to the azotea.  The caballeriza or stable was located under the azotea.  The left zaguan door also served as a tradesman’s entrance to the large and spacious concerns of the Villavicencios.  French doors on the street side let light in, while sliding the capiz windows on either side of the entresuelo ensured good cross-ventilation.  The main door or puerta mayor on the right was for the exclusive use of the family and their friends.  It opened an airy zaguan tiled with azulejos, handpainted decorative tiles imported from Spain that also paved the stairs leading to the meseta.  A door to the right of the meseta led to the garden that separated the house from its neighbor.

The Villavicencio-Marella House has many features.  Aside from being the only one in Taal where the zaguan is floored with azulejos, it is one of a handful in Batangas, where the formal rooms have French doors opening to the balconies also floored with azulejo tiles.  The turned and carved kalabasa or squash-shaped balusters so typical of Taal were repainted in the original primary colors. This is the only house in the country where the rejas na buntis is overlooking the garden.  The unusual louvered doors with delicately carved transoms of the bedrooms made for better ventilation and air circulation.  They were probably inspired by those in the newly reconstructed Ayuntamiento building in Intramuros.

Although the house was lived in by Don Jose Villavicencio, Dona Gliceria’s son until his death in the 1980s, no major repairs were done on the house during his occupancy, except for the time of his death, the original hand painted canvas walls and ceilings had fade by then, with only traces of the original paintings discernable.

When the rooms of the house were converted to apartments after his death, the house became derelict.  Leaks in the roof had rotten some of the floorboards and many posts had sunk due to wood rot.  The dining-room floor sagged dangerously at one end so that the room could not be used.  By 1990, the house had fallen into disrepair and only half of it was habitable.

It was the only when the house was inherited by Monserrat Villavicencio de Joven that her daughter Jocelyn Villavicencio Joven and her husband Advinculo Cuay Quiblat decided to restore the house to its former glory.  The sagging and leaking roof was repainted, the posts were jacked up and reinforced, and the rotten floorboards replaced.  With the help of Martin I. Tinio Jr., a very close friend, the walls of the upper floor were painted in the style of the 1870s, using colors typical of that period.  The garden was landscaped with plants mentioned in the third edition of F. Blanco’s book Flora de Filipinas that was published in 1883.  A gazebo in the 1890s-style was built in the garden.  The process took six years, but the house is now a delight to the beholder.  MARTIN I. TINIO

Full text credit to Martin I. Tinio

Credits to original photo owners

PADRE JOSE BURGOS HOUSE

       THE PADRE BURGOS HOUSE MUSEUM IN THE UNESCO World Heritage City of Vigan is located at the rear of the Capitol of Ilocos Sur and rather close to St. Paul’s Metropolitan Cathedral.  Interestingly, it is adjacent to the ancient 1657 provincial jail.  The house was constructed in 1788 by peninsulares Don Juan de Gonzales from the city of Asturias, Spain, and wife Dona Florentina Gascon of Sta. Cataluna de Baja.  The medium size (422 sq. m. floor area) balay a bato was later left to granddaughter Doña Florencia Garcia who marred in July 28, 1834, Don Jose Tiburcio Burgos, Tiniente de Batalion de Lilicias de Ylocos 5 Linea.  Their son, Josep Apolonio Burgos y Garcia (Padre Jose Apolonio Burgos), born February 9, 1837, is one of the early Filipinos who entered priesthood that manifested outstanding academic excellence.

A Cozy Garden

       Padre Jose Burgos studied at the Colegio de San Juan de Letran and the Universidad de Santo Tomas, received three college degrees and two master’s degrees, a doctorate, Doctor en Teologia and Licenciado en Canones on October 29, 1868.  He taught Latin in the Universidad de Santo Tomas.  With his extensive education, Padre Burgos became the parish priest of the Sagrario de Intramuros, and the second parish priest of the Cathedral.  He held various positions in the Roman Catholic Church as Ecclesiastical Fiscal at Sagrario de Intramuros, Canonical Magistrate at the Manila Cathedral and as an Ecclesiastical Court Fiscal.

       Despite his high position, his awareness of the unfair treatment of Filipino priest moved him to work for reforms for Filipino priests.  He inspired the second novel of Dr. Jose Rizal, El Filibusterismo.  Eventually, his liberal ideas led him to be framed along with two other priests, Fr. Mariano Gomez and Fr. Jacinto Zamora as mastermind of the Cavite mutiny of January 20, 1872.  The three priests collectively known as “GOMBURZA,” were executed using a winch-type garrote at the Bagumbayan (Luneta Park) field on February 17, 1872.

Inside The Burgos House

       The type of the structure of the Padre Jose Burgos house is the earliest form of the balay a bato in the city of Vigan.  This balay a bato is symmetrical with fine proportions but much smaller and lower in height than those built at a later time. 

       The lower floor, sirok, is presently used as an exhibition area of cultural artifacts of the early Ilocano and Tingguian communities in the Ilocos region. This was used for weaving the famous abel, as storage for crops such as rice, corn and tobacco, jars of fermenting vinegars, and storage of assorted tools and gears. The thick walls are constructed of bricks plastered with lime mortar and punctuated at regular intervals with windows, protected with awnings and grill works.  

       The main floor leads to a wide wooden staircase that leads to a caida that segregates the living   quarters from the service area.  The upper floor of the main house is occupied by social areas and sleeping quarters.  The floor is of a variety of Philippines hard wood of assorted width.  The airy, generous social space is flanked on both sides by bedrooms.  A collection of 19^th century paintings by the famous local painter Don Esteban Villanueva depicting the Basi Revolution of 1807 hangs on the walls of the living room furnished with Ilocos period furniture.  A bedroom contains furniture and interesting memorabilia of the Fr. Jose Burgos.  The other bedroom is furnished with furniture of the 19the century.

       The main   house, rectangular on plan, is roofed with the distinctive cuatro aguas with braced demi-awnings that serve as secondary protection of the windows from rain and sun.  Sliding windows of capiz and wood protect the generous windows, evenly distributed around the house.  The openings above the window transom are secured   with diamond-shaped wood slats.  The ventanillas below the windows are protected with wood barandillas of straightforward design.

The Kitchen

       Aside from the main house there is a smaller structure used for cooking, pantry and other household chores.  These two structures are connected by a lovely azotea protected by railings with the original clay barandillas.  Stairs from the azotea lead down to the backyard garden with the ubiquitous balon.  The service house has a steeper dos aguas roof that still has the original clay roof tiles.  The contrived roof designs create a seldom-appreciated interesting ensemble of rooflines.

         

One Creepy Corner

       In the later years, the house was sold to Doña Mena Crisologo and was used as the Post Office until 1932 and as a branch of the Philippine National Bank from 1946 to 1965.  The Crisologo heirs eventually sold the house to Insular Life Assurance Company, Ltd., through Don Enrique Zobel de Ayala.  It was renovated by the Filipinas Foundation, Inc. and inaugurated on May 3, 1975.  Established as the Ilocos Sur Museum, it was turned over in 1986 to the Ilocos Historical and Cultural Foundation, Inc.  Eventually, in 1989 the foundation turned over the administration to the National Museum.     ∞ MARIA CHRISTINA V. TURALBA, FUAP, PIEF

* All photos downloaded in the internet. Credits to owners. Thanks